The Scream (1893) – Also known as The Cry. The sky is painted from swirls made from strokes of bright colours. There is an individual in the foreground who is grabbing his/her face tightly and is seemingly screaming. It is hard to tell why exactly the person is screaming or what Edvard is trying to communicate. The person is standing on a dock alone, and in the far background, there are two vague figures which look like people.

The Kiss (1897) – It generally portrays a couple, a man and a woman, engaging in an intimate kiss. What makes it unique is the way he merged their faces into one face. Perhaps it symbolizes the way the two were bonded in unity. They are kissing passionately, his arms around her and vice versa. The only other thing in the scene is a half covered mirror.

Despair (1892) – Edvard uses the same setting as The Scream. Only that in this particular painting, the individual is sulking. The mood is sombre, could he be regretting something he did? Is he disappointed? Or maybe it's all of those combined scenarios. The sky in this painting is grey, provoking sad moods.

Anxiety (1894) – He used the same theme he used in The Scream and Despair. In this particular painting, there's a group of people on the so far famous bridge, all headed in the same direction. There is clear look of anxiety on their faces. It's like they're scared of what they're going to meet. The sky is now made from colourful waves. He has used both bright and dark colours to bring the sombre mood.

Dance of Life (1899-1900) – as the title suggests, the painting shows couples dancing. In the foreground, there are two sad ladies on either who are not paired up with anyone and are not dancing. The rest are happily dancing though. There's use of bright colours to suggest a light mood.

Madonna (1892-1895) – The painting is of a bare breasted lady who is definitely confident about her body. She has thrown her head back and has one hand behind her neck, the other is behind her lower back. This particular painting was stolen in 2004 from the Museum of Munch, but it was recovered two years later.

Vampire (1893) – It was initially known as "Love and Pain", at least that's what Edvard named it. It showed a man and a woman covered in embrace, the woman seated down and the man on her laps. Edvard described the scene simply as a woman kissing her lover's neck. But with time it picked up the name Vampire's embrace, as it seemed like a woman sucking blood out of the man's neck.

Melancholy (1894) – this has a beach setting. It shows a man seated at the seashore amongst some rocks at some time in the afternoon. The man seems to be thinking or contemplating about something that got him completely indulged. He looked distanct.

Death in the sickroom (1895) – the setting looks like a living room of some sort. There are different people in the room each mourning in his/her own way, none interacting with the other. There's a little girl seated on a chair in the background with her father standing above her while praying.

Starry night (1893) – The painting is of a beach setting at night. It is a calm night and the sky is clear, no clouds but there are a lot of stars hence the title of the painting.

Ashes (1894) – There's a gentleman in the foreground who's covering his face in shame and there's a lady in the background with her dress unbuttoned, showing us a sneak peak of her undergarment. She is standing with both her hands behind her neck. The scene is in a forest.

Fertility (1898) – this is a painting of a man and a pregnant woman in the garden under a tree. The man is seated on a rock with a walking stick next to him. The woman is standing opposite the man holding a basket of cherries.

Puberty (1894-1895) – this piece shows a young naked girl sitting on the edge of a bed. She is staring directly with her mouth clothes. Her thighs are pressed together, her right hand is tucked between her thighs and her left hand is on top of her right thigh. There's a clear dark shadow behind her which runs from the bed to the wall.

The Sick Child (1907) – this portrays an image of a young girl lying in her bed propped up by a pillow. A lady, most probably her mother, is seated beside her bed, her head facing down while she clasps the young girl's left hand. It is a touching photo. The girl seems to be strong and probably comforting her mother.

Evening on Karl Johan Street (1892) – the scene is set on a street, perhaps Karl Johan Street? There are buildings on either side of the road, and there's a huge crowd of ladies and gentlemen on the left pavement. There's one single silhouette in the middle of the road.

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